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Roberto Alexandre do Carmo Saidhttp://lattes.cnpq.br/0894958518829730Maria Zilda Ferreira CuryEmílio Carlos Roscoe Macielhttp://lattes.cnpq.br/4859526059768594Rubens Fernandes Corgozinho Júnior2023-04-17T14:35:06Z2023-04-17T14:35:06Z2023-02-09http://hdl.handle.net/1843/52067O presente trabalho parte de um estudo da obra de Rubem Fonseca compreendida pelos três primeiros volumes de contos lançados ao longo da década de 1960 (Os prisioneiros, de 1963, A coleira do cão, de 1965, e Lúcia McCartney, de 1969). Nesse momento inicial, é buscado analisar de que modo estão presentes como características marcantes da produção as temáticas da violência e do moralismo, sendo a primeira delas elemento central da poética de Fonseca que passaria a ser insistentemente destacado pela crítica a partir da década seguinte. Por meio da leitura dos contos, o trabalho busca identificar diferentes modos de manifestação do par em questão nas narrativas protagonizadas pelos personagens fonsequianos, sujeitos marginais ou envolvidos, de algum modo, com a marginalidade e com a prática da transgressão. Para isso, são mobilizados saberes do campo da filosofia, de pensadores como Friedrich Nietzsche, Georges Bataille e Hannah Arendt, além de pensadores da cultura como Sigmund Freud e René Girard. O entendimento inicial é o de que haveria um modo particular de trabalho com os temas da violência e do moralismo na produção inaugural de Fonseca que se difere do modo adotado posteriormente, podendo ser pensada uma relação de continuidade dentro da obra, de maneira que a produção passaria, ao longo dos anos, por um crescimento da tematização da violência, coincidindo, em certa medida, com o endurecimento das práticas do Regime Militar iniciado em 1964.The present works starts from a study of Rubem Fonseca’s work comprehended by his three firsts short story volumes released within the 1960’s (Os prisioneiros, 1963, A coleira do cão, 1965, e Lúcia McCartney, 1969). In this initial moment, it was seeked to analyze how the themes of violence and moralism are present as remarkable characteristics of the production, once that the first of these elements a central mark of Fonseca’s poethic that would be insistently appointed by the 1970’s critics. By the reading of the short stories, the work intends to identify different forms of manifestation of the mentioned pair in the narratives starred by Fonseca’s typical characters, underground individuals or involved, somehow, with the marginality and with the practice of transgression. For that purpose, there are mobilized knowledges from the philosophy field, by thinkers such as Friedrich Nietzsche, Georges Bataille and Hannah Arendt, as well as culture thinkers as Sigmund Freud and René Girard. The initial understanding is that there would be a particular way of working with violence and moralism adopted in the inaugural works of Fonseca that would be different from the one that would be adopted later, so that it’s possible to think a relation of continuity within the production, in a way that it would happen, over the years, a growing thematization of the violence, coinciding, somehow, with the hardening of the Military Regime's, started in 1964, practices.CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorporUniversidade Federal de Minas GeraisPrograma de Pós-Graduação em Estudos LiteráriosUFMGBrasilFALE - FACULDADE DE LETRASFonseca, Rubem, 1925-2020. – Crítica e interpretaçãoContos brasileiros – História e críticaViolência na literaturaLiteratura e moralRubem FonsecaLiteratura brasileiraLiteratura comparadaLiteratura contemporâneaViolênciaMoralismoContosDualidade brutalista: violência e moralismo na obra de Rubem Fonsecainfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisinfo:eu-repo/semantics/openAccessreponame:Repositório Institucional da UFMGinstname:Universidade Federal de Minas Gerais (UFMG)instacron:UFMGORIGINALDISSERTAÇÃO - DUALIDADE BRUTALISTA - FINAL.docx (REVISADA)-merged (2).pdfDISSERTAÇÃO - DUALIDADE BRUTALISTA - FINAL.docx (REVISADA)-merged (2).pdfapplication/pdf769973https://repositorio.ufmg.br/bitstream/1843/52067/1/DISSERTA%c3%87%c3%83O%20-%20DUALIDADE%20BRUTALISTA%20-%20FINAL.docx%20%28REVISADA%29-merged%20%282%29.pdf562d9b8bb710b49a8dc6c60db7b8162dMD51LICENSElicense.txtlicense.txttext/plain; charset=utf-82118https://repositorio.ufmg.br/bitstream/1843/52067/2/license.txtcda590c95a0b51b4d15f60c9642ca272MD521843/520672023-04-17 11:35:07.247oai:repositorio.ufmg.br:1843/52067TElDRU7Dh0EgREUgRElTVFJJQlVJw4fDg08gTsODTy1FWENMVVNJVkEgRE8gUkVQT1NJVMOTUklPIElOU1RJVFVDSU9OQUwgREEgVUZNRwoKQ29tIGEgYXByZXNlbnRhw6fDo28gZGVzdGEgbGljZW7Dp2EsIHZvY8OqIChvIGF1dG9yIChlcykgb3UgbyB0aXR1bGFyIGRvcyBkaXJlaXRvcyBkZSBhdXRvcikgY29uY2VkZSBhbyBSZXBvc2l0w7NyaW8gSW5zdGl0dWNpb25hbCBkYSBVRk1HIChSSS1VRk1HKSBvIGRpcmVpdG8gbsOjbyBleGNsdXNpdm8gZSBpcnJldm9nw6F2ZWwgZGUgcmVwcm9kdXppciBlL291IGRpc3RyaWJ1aXIgYSBzdWEgcHVibGljYcOnw6NvIChpbmNsdWluZG8gbyByZXN1bW8pIHBvciB0b2RvIG8gbXVuZG8gbm8gZm9ybWF0byBpbXByZXNzbyBlIGVsZXRyw7RuaWNvIGUgZW0gcXVhbHF1ZXIgbWVpbywgaW5jbHVpbmRvIG9zIGZvcm1hdG9zIMOhdWRpbyBvdSB2w61kZW8uCgpWb2PDqiBkZWNsYXJhIHF1ZSBjb25oZWNlIGEgcG9sw610aWNhIGRlIGNvcHlyaWdodCBkYSBlZGl0b3JhIGRvIHNldSBkb2N1bWVudG8gZSBxdWUgY29uaGVjZSBlIGFjZWl0YSBhcyBEaXJldHJpemVzIGRvIFJJLVVGTUcuCgpWb2PDqiBjb25jb3JkYSBxdWUgbyBSZXBvc2l0w7NyaW8gSW5zdGl0dWNpb25hbCBkYSBVRk1HIHBvZGUsIHNlbSBhbHRlcmFyIG8gY29udGXDumRvLCB0cmFuc3BvciBhIHN1YSBwdWJsaWNhw6fDo28gcGFyYSBxdWFscXVlciBtZWlvIG91IGZvcm1hdG8gcGFyYSBmaW5zIGRlIHByZXNlcnZhw6fDo28uCgpWb2PDqiB0YW1iw6ltIGNvbmNvcmRhIHF1ZSBvIFJlcG9zaXTDs3JpbyBJbnN0aXR1Y2lvbmFsIGRhIFVGTUcgcG9kZSBtYW50ZXIgbWFpcyBkZSB1bWEgY8OzcGlhIGRlIHN1YSBwdWJsaWNhw6fDo28gcGFyYSBmaW5zIGRlIHNlZ3VyYW7Dp2EsIGJhY2stdXAgZSBwcmVzZXJ2YcOnw6NvLgoKVm9jw6ogZGVjbGFyYSBxdWUgYSBzdWEgcHVibGljYcOnw6NvIMOpIG9yaWdpbmFsIGUgcXVlIHZvY8OqIHRlbSBvIHBvZGVyIGRlIGNvbmNlZGVyIG9zIGRpcmVpdG9zIGNvbnRpZG9zIG5lc3RhIGxpY2Vuw6dhLiBWb2PDqiB0YW1iw6ltIGRlY2xhcmEgcXVlIG8gZGVww7NzaXRvIGRlIHN1YSBwdWJsaWNhw6fDo28gbsOjbywgcXVlIHNlamEgZGUgc2V1IGNvbmhlY2ltZW50bywgaW5mcmluZ2UgZGlyZWl0b3MgYXV0b3JhaXMgZGUgbmluZ3XDqW0uCgpDYXNvIGEgc3VhIHB1YmxpY2HDp8OjbyBjb250ZW5oYSBtYXRlcmlhbCBxdWUgdm9jw6ogbsOjbyBwb3NzdWkgYSB0aXR1bGFyaWRhZGUgZG9zIGRpcmVpdG9zIGF1dG9yYWlzLCB2b2PDqiBkZWNsYXJhIHF1ZSBvYnRldmUgYSBwZXJtaXNzw6NvIGlycmVzdHJpdGEgZG8gZGV0ZW50b3IgZG9zIGRpcmVpdG9zIGF1dG9yYWlzIHBhcmEgY29uY2VkZXIgYW8gUmVwb3NpdMOzcmlvIEluc3RpdHVjaW9uYWwgZGEgVUZNRyBvcyBkaXJlaXRvcyBhcHJlc2VudGFkb3MgbmVzdGEgbGljZW7Dp2EsIGUgcXVlIGVzc2UgbWF0ZXJpYWwgZGUgcHJvcHJpZWRhZGUgZGUgdGVyY2Vpcm9zIGVzdMOhIGNsYXJhbWVudGUgaWRlbnRpZmljYWRvIGUgcmVjb25oZWNpZG8gbm8gdGV4dG8gb3Ugbm8gY29udGXDumRvIGRhIHB1YmxpY2HDp8OjbyBvcmEgZGVwb3NpdGFkYS4KCkNBU08gQSBQVUJMSUNBw4fDg08gT1JBIERFUE9TSVRBREEgVEVOSEEgU0lETyBSRVNVTFRBRE8gREUgVU0gUEFUUk9Dw41OSU8gT1UgQVBPSU8gREUgVU1BIEFHw4pOQ0lBIERFIEZPTUVOVE8gT1UgT1VUUk8gT1JHQU5JU01PLCBWT0PDiiBERUNMQVJBIFFVRSBSRVNQRUlUT1UgVE9ET1MgRSBRVUFJU1FVRVIgRElSRUlUT1MgREUgUkVWSVPDg08gQ09NTyBUQU1Cw4lNIEFTIERFTUFJUyBPQlJJR0HDh8OVRVMgRVhJR0lEQVMgUE9SIENPTlRSQVRPIE9VIEFDT1JETy4KCk8gUmVwb3NpdMOzcmlvIEluc3RpdHVjaW9uYWwgZGEgVUZNRyBzZSBjb21wcm9tZXRlIGEgaWRlbnRpZmljYXIgY2xhcmFtZW50ZSBvIHNldSBub21lKHMpIG91IG8ocykgbm9tZXMocykgZG8ocykgZGV0ZW50b3IoZXMpIGRvcyBkaXJlaXRvcyBhdXRvcmFpcyBkYSBwdWJsaWNhw6fDo28sIGUgbsOjbyBmYXLDoSBxdWFscXVlciBhbHRlcmHDp8OjbywgYWzDqW0gZGFxdWVsYXMgY29uY2VkaWRhcyBwb3IgZXN0YSBsaWNlbsOnYS4KRepositório InstitucionalPUBhttps://repositorio.ufmg.br/oaiopendoar:2023-04-17T14:35:07Repositório Institucional da UFMG - Universidade Federal de Minas Gerais (UFMG)false
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